On April 9th, Carme Vives, former student and ex-professor of EINA, left us because of the COVID-19.
Carme Vives was trained in graphic design at EINA between the 72-73 and 75-76 courses. Later she worked in several design studios until she created her own studio in 1986, specializing in corporate identity, publications, and the publishing sector focused on the digital world and web design. In his long professional career, she has received national and international recognition.
It is precisely in 1986 when Carme also began her career as a teacher at EINA. From the 86-87 to 99-00 academic year she taught Techniques for making originals II and from the 94-95 to 02-03 academic year Projects II with Manuel Outumuro (until 95-96) and Josep Bagà.
Carme Vives was also Head of the Department of Graphic Design from 97-98 to 99-00, and Member of the Academic Council from 99-00 to 02-03.
From EINA, we want to remember with the greatest of affection her memory and express our most sincere condolences to her family and friends.
EINA promotes the work done by the students and ex-students of the centre with the publication of "EINA360".
The magazine gathers a selection of projects, that show the academic rigor and the capacity of analysis and experimentation that have the students of the Degree of Design and of the different Masters and Postgraduates programmes of EINA. The innovative potential of design and art is also reflected in the professional practice carried out by our alumni through their projects.
All of the published projects are a synthesis of the enriching learning style, open to different systems of thought and language, which EINA has prioritized since its founding in 1967. It is a methodology in constant evolution, whose aim is to advance to meet the needs and demands of our changing society, so as to be able to respond to new challenges and make new products, new services and new experiences a reality.
In short, this publication is witness to the trajectory of the school as the platform for knowledge and culture behind generations of art and design professionals who actively participate in the development of a more sustainable, ethical, thoughtful and committed society.
Who participate in the publication: Sofía Aguilera, Ignasi Ayats, Eva Beser, Damià Campreciós, Karla Cuba, Max Enrich, Marina Esbrí, Louis Robert Ferraz, Gemma Fontanals, Carles Giménez, Claudia Ginesio, Manu González, Leo Kulisevsky, Tomàs Lóbez, Juan Manuel López-Barajas, Clara Mallart, Isabel Mejía, Laura Ann Mendoza, Isa Merino i Carol Montpart (The Plant Magazine), Cota Olea, Ona Orozo, Helena Pérez, Pini Perrone, Raquel Quevedo, Diego Ramos, Berta Rovira, Mayra Sánchez, Judit Serra, Peter van der Weij, Marc Villalba.
Lluc Massaguer, coordinator and lecturer at EINA's Master in Graphic Design, has won the Extraordinary Doctorate Prize from the Universitat Autònoma de Barcelona, in the field of Education, for his thesis “Construcció d'un dispositiu de diagnosi per determinar l'ajustament entre les competències acadèmiques i les professionals dels titulats del grau de Disseny” directed by José Tejada.
Katwalk is the Final Master’s project by Katia Aleix, on Degree in Design, tutored by Jordi Esteve and Oriol Ventura.
The project Katwalk offers modular design that meets the needs of both cats and their owners. It consists of a panel, attached to the wall, upon which different accessories can be hung for the cat to rest, play, scratch or watch the world go by on.
The point of interest is in focusing my final degree project in this area: cats in domestic spaces whose “belongings” are considered to be accessories and not furniture to be integrated into the home. The design adapts to the different domestic spaces in which our pets can play, rest or groom themselves, and at the same time, it takes “us” and our possible interest in using and interacting with the product into account. It’s about seeing a cat as one of the family, or as another roommate, and not as a pet with standard accessories.
Around the Trunk is an action/exhibition conceived by Albert Ràfols and Xavier Olivé that proposes a temporary and partial transformation of the gardens of the first EINA centre based on different interventions on the tree trunks. The idea of Around the Trunk is that each participant should interact or investigate creatively in the natural environment, limiting themselves to intervening on a trunk or bush previously assigned to them. Otherwise completely free, the only limit on the intervention is the prohibition of mutilating or harming the tree or the area around it in any way. The artists invited to take part receive a list of the trees and plants through the post that they can find in the garden, a botanical sample of the tree assigned to them (a leaf and a piece of bark) with an information sheet with its characteristics and its location in the garden (Ràfols, 1987).
The participants include a healthy representation of artists and designers who are members of the school’s teaching staff, who have a connection with EINA through specific collaborations and some students.
The proposals are diverse: a lime tree that serves lime flower tea through a tap and some cups; another lime tree with lime flower tea sachets by Xavier Olivé; another tree with its leaves numbered; one that is bleeding with saws and knives that injured it; a tree wrapped up in cotton wool; another on which is a cushion accompanied by two detective novels, inviting visitors to read (Utrilla, 1980); a road sign of a Mimosa, by America Sanchez; and the intervention by Fina Miralles, which consists of papering the trunk and branches of a tree with wallpaper that simulates natural wood, offering a dialectic proposal in which the artificial intervention on a living being makes the viewer reflect on the natural materials versus artificial materials dichotomy (Pol, 2012).
A paper tag by obra de Ferran García Sevilla.
For Cirici (1977), Around the Trunk holds a strong conceptual approach in transforming the landscape of the garden into an environment of living trees. For the occasion, Cirici himself offers an analysis sheet of the experience from a semiotic viewpoint.
Experience analysis sheet by Alexandre Cirici.
One way or the other, the interventions on nature and in nature that make up this experience do not pursue a hedonistic, ornamental or aesthetic purpose, but are aimed at raising awareness of human intervention on the elements of nature, which are altered and broken by this intervention (Dorfles, 1976).
Around the Trunk is part of a context of opening up conceptual art to other sectors of the arts. The talks and meetings held in the same academic year at the German Institute that gave rise to the New Trends in Art cycle held at the FAD; the New Artistic Behaviours cycle in Madrid and Barcelona; and the What To Do? group show at the Sala Vinçon with the collaboration of the Istituto Italiano di Cultura (Parcerisas, 2007), are examples of the capillarisation of conceptual proposals in different spheres of the arts.
Concept, execution and graphic design: Albert Ràfols Casamada and Xavier Olivé.
Participants: Fernando Amat, Josep Bigas-Luna, Joan Brossa, Xavier Bulbena, Carles Camps, Alicia Fingerhut, Ferran Garcia Sevilla, Maria Girona, Silvia Gubern, Josep Guinovart, Josep Iglésias del Marquet, Àngel Jové, Antoni Llena, Robert Llimós, Paco Llobet, Jordi Marcet, Fina Miralles, Yolanda Navarro, Xavier Olivé, Jordi Pablo, Santi Pau, Carlos Pazos, Olga Pijuan, America Sanchez, Albert Ràfols Casamada, Pere Riera, Francesc Serrat, Francesc Todó, Lluis Utrilla i Rosa Vila-Abadal.
Place: Garden of the Manuel Dolcet House (first EINA headquarters).
Date: From 18 to 20 of June 1974. Opening, 18 June at 19.30.
Cirici, Alexandre. «EINA fa deu anys». Serra d'or. Núm. 208 (1977), p. 43.
Dorfles, Gillo. Últimas tendencias del arte de hoy. 5ª ed. amp. y act. Barcelona: Labor, 1976. “Capítulo XII. Arte ecológico (land art, earth art), p. 167.
Parcerisas, Pilar. Conceptualismo(s): poéticos, políticos, periféricos: en torno al arte conceptual en España, 1964-1980. Madrid: Akal, 2007.
Ràfols Casamada, Albert. “Notes per a una història d'EINA”. En: Villena, Josep Maria (coor.). Eina, escola de disseny i art: 1967-1987, vint anys d'avantguarda. Barcelona: Generalitat de Catalunya, Departament de Cultura, 1987, p.32.
Utrilla, Lluís. Cròniques de l’era conceptual. Mataró: Edicions Robrenyo, 1980, p. 77.
Text by Rubén Alcaraz, with the collaboration of Xavier Olivé.
This study links the theoretical analysis of the architectural spaces and the design practice, developing various hybrid and constantly configured space experiments, through the generation of images that seek to rescue the senses during the design process and rediscover the analog complexity of technology. It is research through design, a reflexive work, based on experimentation with shape, movement, use and disuse of living space. It sees space as rhizomatic, something that is woven and not woven, that neither begins nor ends. It is alive and therefore smooth, nomadic, unlimited, without centres or fixations. It is a concept that arises in the integration of lived space, understood as built as it alters an environment, generates possibilities of living and feeling through the multiplicity that defines it and the connections that are created in relation to the body that experiences it.
The objective of this research is to rethink the concept of space, establishing the body-space-technology elements as an integral part of the design process and its representation. With all this, we seek to address new paradigms and reflections of contemporary space, as well as to involve intangible elements that generate meaning in the processes of architecture and design.
Notes for a guided visit to an exhibition is the Final Master’s project by Jordi Blasi, on Degree in Design, tutored by Octavi Rofes.
Having detected a problem of both narrative and format in the exhibition “From the world to the museum: product design, cultural heritage,” in the Design Museum of Barcelona, and with a will to contrast and document the existing information on the objects displayed, this project provides some notes that can serve as a guide for an alternative visit to the exhibition, starting with the contextualization of the some of its objects and the development of a new narrative discourse.
Pere Pi riding a Montesa Cota 247, the motorcycle that Montesa would develop to compete with the Bultaco model, and with which they would triumph in the competitive world, winning with drivers Pedro Pi and Don Smith the championships in Spain and Europe, respectively. cc Wikipedia, no photographer details.
Based on a set of graphic generation rules, based on randomness and probabilistics, a custom-developed software proposes a series of visual compositions, which are generated in real time and never repeated.
These scores can be framed within the "tradition" of graphical musical notation that gained strength among 20th century composers (John Cage, Karlheinz Stockhausen, Mestres Quadreny, Gyorgi Ligetti...), and that allowed to free music from the tonality, compass and rigidity of classical staves.
Thanks to a real-time "sonification" engine, the resulting graphics are transformed into "music" by means of sound synthesis algorithms.
Consult the different pieces made by Santi Vilanova, creator and co-founder of Playmodes Studio.
Students in the 3rd and 4th year of the Degree in Design from the subject of Artistic Intervention Practice, led by Enric Font, are developing intervention proposals for the Superilla (super block of houses) at the Roc Boronat/Sancho de Ávila intersection in Barcelona's Poblenou district.
This project, carried out in collaboration with Rebobinart, Plataforma d'Art, proposes to explore the possibilities of artistic interventions in the street space. The aim is to make citizens aware of the benefits of this space. The project assumes the commitment of evaluating the viability so that some of the proposals can be financed and carried out.
For the development of the project, EINA students will have a virtual meeting with Carla Gimeno, curator and project manager of Rebobinart and Margalef, an artist who develops an intervention project in the zebra crossing of the same spot. In this way, the students will be put in contact with cultural agents and artists who are developing a proposal like the commission received within the course.
The aim of the Superilla is to energize the city's spaces so that they become a meeting point, and at the same time promote a more sustainable city free of pollution and traffic, stimulate social and cultural exchanges and citizen participation and promote coexistence, civility and the creation of synergies between territorial agents.
Nonsa: espais urbans com a activadors de la intel·ligència espiritual is the Final Master’s project by Claudia Ginesio, on Degree in Design, tutored by Octavi Rofes.
The word «Nonsa» refers to urban spaces that function as activators of spiritual intelligence. They could be called “churches that don’t know they are churches.” They share a sense of calm, more than a religious doctrine. They are spaces that connect you with another part of yourself, one that is generally difficult to touch.
The study of Nonsa is based on ten points, known as the “Decalogue of Spirituality”:
A closed garden
Two entry points and two exit points
The presence of water and stone
The presence of nature and animals
Contrast and surprise
A secondary effect
Distortion of self-awareness
A series of objects have been designed that function in the same way as the Nonsa, but relating to making and unmaking, based on the concept of open awareness. These objects are also portable, helping to make a spiritual experience possible practically anywhere. They are designed based on a series of Nonsa that I identified in Barcelona, visualized from different apertures.
How can we use images to talk about the Spanish Civil War? This was my starting point for what became a publication titled El canto del búho (The owl’s call), in which I tried to draw the reader into an experience inspired in part by George Orwell’s Homage to Catalonia – in which the author describes his time in Barcelona during the 1937 revolution and the months he spent on the Aragonese front of the Civil War – and in part by the photographs of Jaume Serra, which show some of the places that appear in the book as well as other locations associated with the guerrilla resistance known as maquis.
Looking through the publication, the reader enters a story that emerges from scenes denoting the pain of life as absence, grief, the smell of death, the sounds of the remains that are forgotten, the air and light that filter between them like remnants of memory.
The text and images unite past and present, wrapped in an aura of decaying melancholy, enhanced by the black and white of the photographs. Together with the book is the box that holds it, lined with a topographic map of the Aragonese Pyrenees, where the largest number of Maquis entered from France.
I also believed it necessary to recover an idea that is seldom considered by our generation, much like the Spanish Civil War itself. For this reason I made a series of posters intended to cause the viewer to reflect on the forgetting of that war and the need, still with us, to pass through a period of mourning that was denied us. In our hurry to turn the page of history, we have become ignorant, with all the danger that implies. The danger of history repeating itself.
matter is a personal project inspired by objects and their symbolic weight. This project takes the form of an object-book and thus is formally consistent with its content. It is about generating an artefact that will live the same processes as the protagonists of this publication. Classifying them by theme, I photographed all of the personal objects that I consider priceless as though photographing items for a catalogue, and related them with Rubbish Theory by Michael Thompson, which explains the dimunition and destruction of their value to create a new meaning, changing them into objects of infinite value. The objects make up a past, a present and a future through the actions and decisions taken throughout a lifetime; it is man who prolongs and survives through them.
Isa Merino and Carol Montpart, former students of EINA, joined forces with Cris Merino to launch the magazine The Plant. The magazine, in addition to offering simple, personal content to plant lovers, provides a new perspective by including work from creative people with a passion for botany.
Isa and Carol, you met studying design at EINA and later you coincided again at Folch Studio. How did you come to foundThe Planttogether? What steps did you follow and what difficulties did you encounter along the way?
When you work in editorial design, you participate in shaping and enhancing the ideas behind creating publications. This process encourages you to create your own publication where you can transmit the ideas that interest you, collaborating with people you admire or have things in common with. So one day we decided to just do it, and we started working on what is now The Plant Magazine. As for difficulties – there were plenty of economic difficulties as it was and continues to be a personal project and a personal investment. It’s hard, but it also means we don’t have any limitations on what we can feature and nor do we have to please any third parties.
Was the subject matter of the magazine influenced by your decision to publish only in paper? How have you changed the format of the magazine throughout the years, and why?
We believe in print – there’s a huge difference between how you perceive the materiality of something printed as opposed to something seen digitally. It affects how we think about the size of a piece and how it will affect the reader, and we choose the paper and take care with the printing process so as to offer a high-quality product. Nowadays, people consume huge amounts of online content and images, and sometimes they consume them very superficially. When we stop to read a publication and relax enough to look at something printed, it helps us to decelerate and pay attention to the actual content.
The passion for plants brings together a number of disciplines (poetry, fashion, design, music, and so on). Was this your initial intention or has it evolved spontaneously?
Yes, that was our original plan, and it has evolved a great deal over the years. We are ever more open to different subjects and perhaps we stray a little more from the purely botanical to explore the world of nature. A few years ago there was an explosion of botanical content on Pinterest and other social networks that caused us to reflect on what we could offer our readers that they can’t find elsewhere.
What is your criteria in choosing collaborators and themes for each issue?
Everything comes up quite fluidly in meetings. There’s a little bit of everything: themes that we work on for months or even years, or sometimes collaborators propose an interesting idea and we work on it together, or sometimes it arises from our own interests. Depending on the core themes, we work with the rest of the content until we find a balance we’re satisfied with.
Are there any changes planned in the next few issues, or is each magazine defined organically during the process of creation?
Yes, each issue arises very organically. We did a redesign a few years ago and now we’re finishing issue 15, which will be published in February. Of course, we are always looking to change things up and find new ways of presenting each issue so that it provides the element of surprise that readers are looking for.
Last question: What plants do you have at home or in your studio?
The shoemaker’s son always goes barefoot! That is to say, we have fewer and fewer plants, we prefer to have fewer plants that make a bigger impact at home. What we really enjoy is getting out and enjoying nature in the wild or in parks and gardens.
With these premises, the students of the Master’s Degree in Design of Spaces have planned the remodelling of the spaces at the south entrance to this university centre. A joint work that they have carried out with the Direction of Architecture and Logistics of the UAB and with all the considerations of the students of the faculty.
After research, analysis and projection of different ideas, the proposal has been implemented and the Faculty of Biosciences of the UAB has a new space designed according to the demands and needs of users.
This project reflects the philosophy of EINA's Master’s Degree in Design of Spaces. The programme focuses on the user experience through the contribution of perceptive, emotional and environmental knowledge of space, applied with specific technical training for management and execution on site.
Participating students Eva Beser, Marcelo Burbano, Inés de Sivatte, Silvia Ibáñez, Elisabet Labori, Ana María Poveda, Andrea Pujol, Manoela Resek.
Project tutors Oriol Ventura, Albert Crispi, Jordi Peraferrer, Sara Coscarelli.
The purpose of this project, in the Sant Just Desvern Sanatorium, is to create a commercial centre focused on fashion, highlighting Spanish design and forging a unique commercial experience for the citizenry that goes beyond shopping.
The intervention must dress the space. Its materiality must be opposed and contrasted with the preexisting space and generate a game in which before and after appear visually balanced.
Conceptually, the intervention is broken down into 3 groups. First, the base group, formed by the architectural complex where the elements respond to orthogonal axes and create a perfect grid in rigid, opaque and heavy blocks.
The second group is necessary so that the architectural space can be habitable and configured properly for the activities planned. It consists of elements that configure, communicate or isolate the basic space. Although they join with the first group in function, they adopt the materiality of the third to clearly distinguish themselves. The third group is in some ways an “invading group,” completely oblivious to the place that hosts it, and ends up dominating the permanent architecture. It flows, with sinuous and mobile organic forms, in lightness and transparency, through the space.